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Fear eats The Soul: The State of Film Criticism
Nick James, David Thomson, Stephanie Zacharek.
Moderated by Dana Linssen.
In cooperation with Berlinale Retrospektive.
14:00 / HAU 2
A large number of film critics feel increasingly embattled in
their efforts to write serious criticism because of commercial pressure
from publishers, publicists and film distributors, all of whom seem to
be interested in using critics as marketing aids. As print circulation
declines, bloggers appear to have the advantage in virtual space with
few professional responsibilities or interventions holding them back.
This may on the one hand, constitutes the “crisis“ of film criticism, if
one can call it that. On the other hand, this “crisis“ seems also to arise
from the waning influence of critics, the once­villains of the film
world, hated by filmmakers and distrusted by readers. Film critics
seem today to have opted for the safety of pure admiration, focusing
more on disappearing film magazines and newspapers, than on the
quality of film criticism itself. In his article “On Provocation“, the editor
of “Sight & Sound“, Nick James recently questioned the obedient and
hardly provocative role film critics play in reviewing films, resulting in
filmmakers challenging and provoking critics, take Tarantino or von
Trier. Shouldn’t critics take the lead again and write forcefully and
with a clear voice? Questioning the role of film criticism today, leading
critics David Thomson, Nick James and Stephanie Zacharek debate the
current state of press affairs.
The Indie Filmmakers Guide To Cross Media III –
extending The Audience: How To Distribute
Across Multiple Platforms
Lizzie Gillet, Karol Martesko-Fenster,
Timo Vuorensola. Moderated by Liz Rosenthal.
In cooperation with Skillset.
14:00 / HAU 3, Top Floor
As audiences discover and engage with films across a rapidly
expanding array of platforms and devices, distribution strategies for
independent film are evolving. Looking at a variety of distribution
case studies, speakers will demonstrate a variety of models and lessons
learned from making films available across multiple platforms,
sites and devices to simultaneous release strategies, special events
and digital word­of­mouth campaigns.
Berlinale Talent Campus #8
Campus programme
WeDNeSDAy, FeB 17
Call it Fiction: Script Station Presentation
Moderated by Fleur Knopperts.
In cooperation with German Federal Film Board (FFA).
14:00 / HAU 3, White Stage
At the heart of a good film is a good script, which has the
power to grab the audience from the very first scene and sustain its
attention until the end: This means transforming a story into images,
turning it from mere words on paper into cinema. Talents of the Script
Station, under the guidance of professional script advisors, have been
developing their scripts, giving them their energy, emotion, due
form and structure. These screenplays of the Script Station will be
presented on stage for the very first time, taking shape in the form of
powerful dialogues and enthralling story lines, be they intense family
dramas set in Bosnia, Belgium or Ireland; a gripping thriller in Cyprus;
the threat of terrorism hanging over an American family, an eastern
european comedy or the very endearing coming out of a blind boy
in Brazil. The twelve Script Station screenplays in their various stages
of development will be presented as works in progress by the Talents
and their expert mentors.
Sublime Sounds, Haunting Scores
Master class score composing with Alexandre Desplat.
Moderated by Peter Cowie.
17:00 / HAU 1
If you enquire after the rising stars in film composition on
the Hollywood scene, you will inevitably encounter the name of
Alexandre Desplat. With a well­grounded background in film composition,
extensive experience and an evident personal style, this
French composer, after having composed the music for over 50
european films, began his triumphant success around the world in
2003 with the wonderful neo­classical and haunting score of GIRL
WITH A PeARL eARRING and the Silver Bear­winning score for THe
BeAT THAT MY HeART SKIPPeD (2005). With a gift for rich, cinematic
melody, his varying and sensitive orchestral style, his ear for rhythmic
precision and his keen sense for dramatic nuances has been enriching
the world of film music across the globe. He has made award­winning
scores for such films as THe PAINTeD VeIL, THe QUeeN, BIRTH and THe
CURIOUS CASe OF BeNJAMIN BUTTON. Using excerpts of the diverse
films he has worked on, this prolific composer will discuss the ways of
introducing the mood of a film through the opening music, the timing
of a score and heightening of suspense moments within a scene. He
will elaborate on the music in historical films or those made on foreign
ground, and his approach to composing a score at a time when scores
are increasingly being written before the film is edited. He will also
talk about his close collaboration with various film directors and the
differences in the production of european and US American films.
Campus programme
WeDNeSDAy, FeB 17
Happy Returns: The Future After the Campus
Jenna Bass, Rodrigo Diaz Diaz, Sebastian Pille, Rusudan Pirveli,
David Sieveking. Moderated by Matthijs Wouter Knol.
In cooperation with Berlinale Panorama, Berlinale Generation,
Berlinale Shorts and Perspektive Deutsches Kino.
17:00 / HAU 2
The motto of the eighth edition of the Berlinale Talent Campus,
“Cinema Needs Talent: Looking for the Right People“, aptly defines
the platform the Campus has managed to create since its inception.
The Berlinale is not just home to leading filmmakers, it rejoices year
after year in the discovery of new innovative films, a number of them
were projects developed at the hands­on programmes of the Campus
or made by Talent alumni, former participants of the Campus. On
centre stage today, these filmmakers, Jenna Bass, Rodrigo Diaz Diaz,
Sebastian Pille, Rusudan Pirveli and David Sieveking, will present their
films and take us behind the scenes of their film projects. They will
talk about the stumbling blocks that roughed up their filmmaking
journeys. They will also give helpful tips on getting your films through
trying times. The future is out there waiting for you – happy returns to
the Campus!
Right to Music
Mareile Büscher, Milena Fessmann.
In cooperation with Hogan & Hartson Raue LLP.
17:00 / HAU 3, Top Floor
The legal aspects of filmmaking affect the practical and
creative concerns of making films and music. Sounds, words and ideas
can be legally treacherous but are real issues essential to protecting
your film from a lawsuit. Milena Fessmann and Mareile Büscher know
this reality well. Music supervisor and founder of Cinesong, which offers
a full range of services related to music and films, Milena Fessmann
has been music consultant on films including PALeRMO SHOOTING
and FC VeNUS and music supervisor on several films. Focusing on how
music and sound can be used legally in film, Fessmann and Mareile
Büscher, legal counsel for Hogan & Hartson Raue LLP on press, media
and copyright law, will discuss how you decide when you need to clear
music rights, how you go about it, and at what stage of production
you should do this. They will elaborate on the process of clearing
rights to music and sound and the formulation of a proper request for
licensing music in a movie.
extending Scripts
Alexandre Brachet, Martin ericsson, Liz Rosenthal.
Moderated by Jakob Kirstein Høgel.
In cooperation with German Federal Film Board (FFA).
17:00 / HAU 3, White Stage
enabling filmmakers to connect with key digital innovators
and helping them make the transition to a cross­media digital age,
this panel presents cross­media experts – Alexandre Brachet, director
of Upian (France), Martin ericsson, creative director of The company P
(Sweden) and Liz Rosenthal, managing director of Power to the Pixel
(UK) – who will inform and inspire screenwriters participating in the
Doc & Script Station to develop new models of storytelling. They will
encourage and challenge participants to consider cross media project
development for their current or future projects. As direct, practical
examples relevant to Talents of the Doc & Script Station, the experts
will use a number of projects developed at the hands­on training as
examples for developing projects aimed at multiple platforms, which
also open up new forms of creativity, finance and distribution.
Performance: The Abstract Prophecy Conference
Ásdís Sif Gunnarsdóttir.
In cooperation with Berlinale Forum expanded.
22:00 / HAU 1
“Prepare to loose your dignity. Start lying. Prepare to loose
your dignity by a kiss of a stranger. Prepare to be somebody else
and follow your sins, you’ll regret not falling into the sins, the sins
will lead you to the right places and leave you travelling. Those were
the mistakes, you should’ve done, and those were the right mistakes.
Prepare to loose your dignity.“
Icelandic performance and film artist Ásdís Sif Gunnarsdóttir’s
performance will have a poetic conference feel: A journey to the
psychedelic vastness of the feminine mind. In a relaxed, meditative
atmosphere, she will control an abstract power point blended in with
music, videos, performances and poetry. It will be a one­woman show
but a dark haired lady will be her assistant, mixing bloody marys for her
and occasionally playing one note on the keyboard. The performance
will be full of feminine gestures – poetic, fantastic moments that are
visually interesting without a narrative. The audience should be able
to enjoy the performance sitting down, falling asleep and having lucid
dreams, then waking up and still being in a dream.